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The majority of us would not necessarily define ourselves as artists. We're parents, students, businesspeople, friends. We're working hard, trying to make ends meet, and often longing for a little more--more time, more love, more security, more of a sense that there is more out there. The truth? We need not look around so much. God is within us and he wants to shine through us in a million little ways. A Million Little Ways uncovers the creative, personal imprint of God on every individual. It invites the discouraged parent, the bored Christian, the exhausted executive to look at their lives differently by approaching their critics, their jobs, and the kids around their table the same way an artist approaches the canvas--with wonder, bravery, and hope. In her gentle, compelling style, Emily Freeman encourages readers to turn down the volume on their inner critic and move into the world with the courage to be who they most deeply are. She invites regular people to see the artistic potential in words, gestures, attitudes, and relationships. Readers will discover the art in a quiet word, a hot dinner, a made bed, a grace-filled glance, and a million other ways of showing God to the world through the simple human acts of listening, waiting, creating, and showing up.
What keeps so many of us from doing what we long to do? Why is there a naysayer within? How can we avoid the roadblocks of any creative endeavor—be it starting up a dream business venture, writing a novel, or painting a masterpiece? The War of Art identifies the enemy that every one of us must face, outlines a battle plan to conquer this internal foe, then pinpoints just how to achieve the greatest success. The War of Art emphasizes the resolve needed to recognize and overcome the obstacles of ambition and then effectively shows how to reach the highest level of creative discipline. Think of it as tough love . . . for yourself.
Over seven years, 45 of the world's top investors were given between $25 and $150m to invest by fund manager Lee Freeman-Shor. His instructions were simple. There was only one rule. They could only invest in their ten best ideas to make money. It seemed like a foolproof plan to make a lot of money. What could possibly go wrong? These were some of the greatest minds at work in the markets today - from top European hedge fund managers to Wall Street legends. But most of the investors' great ideas actually lost money. Shockingly, a toss of a coin would have been a better method of choosing whether or not to invest in a stock. Nevertheless, despite being wrong most of the time, many of these investors still ended up making a lot of money. How could they be wrong most of the time and still be profitable? The answer lay in their hidden habits of execution, which until now have only been guessed at from the outside world. This book lays bare those secret habits for the first time, explaining them with real-life data, case studies and stories taken from Freeman-Shor's unique position of managing these investors on a day-to-day basis. A riveting read for investors of every level, this book shows you exactly what to do and what not to do when your big idea is losing or winning - and demonstrates conclusively why the most important thing about investing is always the art of execution.
American art in the 1930s—intertwined with the political, social, and economic tumult of an era not so unlike our own—engaged with the public amid global upheaval. This publication examines the search for artistic identity in the United States from the stock market crash of 1929 that began the Great Depression to the closure of the Works Progress Administration in 1943 with a focus on the unprecedented dissemination of art and ideas brought about by new technology and government programs. During this time of civil, economic, and social unrest, artists transmitted political ideas and propaganda through a wide range of media, including paintings and sculptures, but also journals, prints, textiles, postcards, and other objects that would have been widely collected, experienced, or encountered. Insightful essays discuss but go beyond the era’s best-known creators, such as Thomas Hart Benton, Walker Evans, Marsden Hartley, and Georgia O’Keeffe, to highlight artists who have received little scholarly attention, including women and artists of color as well as designers and illustrators. Emphasizing the contributions of the Black Popular Front and Leftist movements while acknowledging competing visions of the country through the lenses of race, gender, and class, Art for the Millions is a timely look at art in the United States made by and for its people.
Why would a smart New York investment banker pay $12 million for the decaying, stuffed carcass of a shark? By what alchemy does Jackson Pollock's drip painting No. 5, 1948 sell for $140 million? Intriguing and entertaining, The $12 Million Stuffed Shark is a Freakonomics approach to the economics and psychology of the contemporary art world. Why were record prices achieved at auction for works by 131 contemporary artists in 2006 alone, with astonishing new heights reached in 2007? Don Thompson explores the money, lust, and self-aggrandizement of the art world in an attempt to determine what makes a particular work valuable while others are ignored. This book is the first to look at the economics and the marketing strategies that enable the modern art market to generate such astronomical prices. Drawing on interviews with past and present executives of auction houses and art dealerships, artists, and the buyers who move the market, Thompson launches the reader on a journey of discovery through the peculiar world of modern art. Surprising, passionate, gossipy, revelatory, The $12 Million Stuffed Shark reveals a great deal that even experienced auction purchasers do not know.
Max’s dream is to live in Paris and be a poet. But do you think it is easy for a dog to pack a small brown suitcase, put on a beret, and hop on a plane? Ha! No one will buy Max’s poems, so without money he must stay put. But living in New York City isn’t so bad. Where else could he have friends like Bruno, with his invisible paintings, or Marcello, who builds upside down houses? And where else could he drop in at Baby Henry’s Candy Shop? It’s all possible in New York, a jumping jazzy city. And for Max, it’s a dog’s life that only Maira Kalman could invent.
How can an old man and his wife select one cat from a choice of millions and trillions.
Living on a damaged planet challenges who we are and where we live. This timely anthology calls on twenty eminent humanists and scientists to revitalize curiosity, observation, and transdisciplinary conversation about life on earth. As human-induced environmental change threatens multispecies livability, Arts of Living on a Damaged Planet puts forward a bold proposal: entangled histories, situated narratives, and thick descriptions offer urgent “arts of living.” Included are essays by scholars in anthropology, ecology, science studies, art, literature, and bioinformatics who posit critical and creative tools for collaborative survival in a more-than-human Anthropocene. The essays are organized around two key figures that also serve as the publication’s two openings: Ghosts, or landscapes haunted by the violences of modernity; and Monsters, or interspecies and intraspecies sociality. Ghosts and Monsters are tentacular, windy, and arboreal arts that invite readers to encounter ants, lichen, rocks, electrons, flying foxes, salmon, chestnut trees, mud volcanoes, border zones, graves, radioactive waste—in short, the wonders and terrors of an unintended epoch. Contributors: Karen Barad, U of California, Santa Cruz; Kate Brown, U of Maryland, Baltimore; Carla Freccero, U of California, Santa Cruz; Peter Funch, Aarhus U; Scott F. Gilbert, Swarthmore College; Deborah M. Gordon, Stanford U; Donna J. Haraway, U of California, Santa Cruz; Andreas Hejnol, U of Bergen, Norway; Ursula K. Le Guin; Marianne Elisabeth Lien, U of Oslo; Andrew Mathews, U of California, Santa Cruz; Margaret McFall-Ngai, U of Hawaii, Manoa; Ingrid M. Parker, U of California, Santa Cruz; Mary Louise Pratt, NYU; Anne Pringle, U of Wisconsin, Madison; Deborah Bird Rose, U of New South Wales, Sydney; Dorion Sagan; Lesley Stern, U of California, San Diego; Jens-Christian Svenning, Aarhus U.
From bestselling author David Nasaw, a sweeping new history of the one million refugees left behind in Germany after WWII In May 1945, after German forces surrendered to the Allied powers, millions of concentration camp survivors, POWs, slave laborers, political prisoners, and Nazi collaborators were left behind in Germany, a nation in ruins. British and American soldiers attempted to repatriate the refugees, but more than a million displaced persons remained in Germany: Jews, Poles, Estonians, Latvians, Lithuanians, Ukrainians, and other Eastern Europeans who refused to go home or had no homes to return to. Most would eventually be resettled in lands suffering from postwar labor shortages, but no nation, including the United States, was willing to accept more than a handful of the 200,000 to 250,000 Jewish men, women, and children who remained trapped in Germany. When in June, 1948, the United States Congress passed legislation permitting the immigration of displaced persons, visas were granted to sizable numbers of war criminals and Nazi collaborators, but denied to 90% of the Jewish displaced persons. A masterwork from acclaimed historian David Nasaw, The Last Million tells the gripping but until now hidden story of postwar displacement and statelessness and of the Last Million, as they crossed from a broken past into an unknowable future, carrying with them their wounds, their fears, their hope, and their secrets. Here for the first time, Nasaw illuminates their incredible history and shows us how it is our history as well.